Drawmer DS301 Instrukcja obsługi - Strona 11

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Using Release:

Setting the Release control is largely a matter of listening to the effect of the gate

or expander as it closes at the end of individual notes or sections of music and

speech. If the release time is too fast the material being processed will be cut

short. Using the DS301 in circuit before adding any reverb and/or echo can help

to cover up this side effect especially where the unprocessed programme source

is very noisy and the normal release setting starts to allow too much background

noise through.

It is important when processing stereo signals through both channels of the

DS301 to use the Stereo Link facility. Failure to do this with different envelope

settings may lead to an apparent image shift in the direction of the envelope that

closes last (normally with the longest release). However, deliberate image shifts

can be created as desired effect by setting radically different attack and release

times and not using the Stereo Link.

Using Retrigger:

Retrigger can also be used to create interesting image effects by setting two

different time settings on both channels. Another prime example of retrigger use

is the treatment of double drum beats where only the first is required, or when the

MIDI facilities are being used to replace on-tape drum sounds with MIDI-triggered

samples. Longer inhibit times can be used to cause the gate to trigger on

alternate drum beats, effectively dividing the tempo of the sound source (eg hi-

hats).

USING THE FILTER

Where using multi-mic setups, it is inevitable that unwanted spill from other

instruments (or other drums in a drum kit) will reach other microphones,

sometimes at quite high levels. This can make it difficult to set a suitable

threshold for the gate; if you set the threshold high enough to ignore the

background noise or spill, there is a real danger of the gate not opening for

wanted, low-level sounds. It was to solve this perennial problem that DRAWMER

first devised the side-chain filter.

Essentially, the filter section comprises two filters, one high-pass and one low-

pass. These may both be varied over a wide frequency range allowing the user

to 'tune in' to the sound that is required to trigger the gate while excluding as

much as possible of the unwanted sounds. This is most effective when the

unwanted sound occupies a completely different part of the audio spectrum to the

wanted sound (such as hi-hat and bass drum), but the precise nature of the filters

means that even where quite similar sounds are involved, some improvement can

be achieved. The Key Listen facility enables the user to hear the effect of the

filters on the trigger source. Remember to switch back to Normal operation once

the filters are setup.

Note: Any side-chain filtering which implements high frequency attenuation will

also cause a slight delay in the time the gate takes to trigger. Under most

circumstances this will be quite imperceptible, but when transient sounds are

being processed with the H.F. control set to a very low value, some degradation

of the attack transient may become apparent. For this reason, always set the H.F.

control to the highest possible value you can get away with when processing

percussive sounds.

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